Lyricism on veena
THE INHERENTLY deep tone of the veena enhances its aesthetic appeal and when it is played well it leaves a lasting imprint on the human mind. It is placed on a par with Vedic incarnation. By tradition veena and spirituality of music are held to be inseparable. In the kirtana "Sri-Narada" in Kanada Sri Thyagaraja hails Narada as "Vedajanita-Vara-Veena-Vaadana-Tatvagna". Such an exalted place is given to the instrument, thought even very good vainikas to-day have to play to almost empty halls. That is the scale of enjoyment of the general rasika made insensitive by noisy performers.
The veena recital of Revathy Krishna for Sri Krishna Gana Sabha focussed on lyricism and elegant flow couched in melodic idiom.
There was in her veena tone a luxuriance of sweetness and softness. Composed with poised restraint, the fingers moved effortlessly on the frets as the meettu ensured sound aesthetics. The two in combination producing tempting veena nadam, helped Revathy Krishna to bring out light and shade in every turn of raga sancharas and kirtana sangatis.
The musical rhythm in Kalpana Swaraprastharas was meticulously accurate. When these graceful factors were put in place it was not at all surprising that in the raga lines of Latangi (Marivere-Dikikevvaru) and Todi (Koluvamaregada) she wove a fine musical web of pleasing fluency.
The kirtana session included "Pariyaasakama" (Vanaspati) "Amba-Sow Ramba" (Aarabhi) and "Marugelara" (Jayanti Sri). S. Balashankar (mridangam) lent enthusiastic support. The recital was reposeful as music ought to be.
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